• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.658-675
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• 2022

With the advent of the OTT platform, the world has become an era in which the same media content is shared and reacted in real time by being grouped into one culture. This study attempts a producer study of web novel writers, who are producers of the web novel market that is expanding into webtoons, dramas, and movies with IP (intellectual property rights) of the original story at a time when Korean K-content such as "Squid Game" and "Weird Lawyer Woo Young-woo" leads the global market. In this study, web novel writers were viewed as producers of commercial media content, not just 'Novelist', and their identities and characteristics of the labor process were examined. Web novel writers began writing web novels as a side job or two jobs, and cited the fact that they can make profits alone without barriers to entry and without incurring capital or facility costs. Although there is no barrier to entry, most writers experience severe failure in their first work, which is attributed to the misunderstanding that the word "writer" is someone who writes what they want in any genre. Web novels are different, so writers go through the process of realizing that in order to succeed by writing web novels, they must be thoroughly in the audience's shoes and write them according to the trends and codes they want. Web novel writers expressed their identity as "story sellers," "story producers," "people who can produce IP alone," and "people who satisfy fantasies that cannot be achieved in reality," and in common, there was a strong sense of being a person who provides stories and makes profits or sales. Regarding the burden of writing a huge amount of web novels, the writer with a high income expressed a generous position that "the income is higher than the effort," but ordinary writers complained of difficulties in the hard work, saying, "It seems like I am working hard on writing that I have to write constantly.

• Journal of the Korean Orthopaedic Association
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• v.55 no.1
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• pp.71-77
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• 2020

Purpose: To determine if sparing the interspinous and supraspinous ligaments during posterior decompression for lumbar spinal stenosis is significant in preventing postoperative spinal instability. Materials and Methods: A total of 83 patients who underwent posterior decompression for lumbar spinal stenosis between March 2014 and March 2017 with a minimum one-year follow-up period, were studied retrospectively. The subjects were divided into two groups according to the type of surgery. Fifty-six patients who underwent posterior decompression by the port-hole technique were grouped as A, while 27 patients who underwent posterior decompression by a subtotal laminectomy grouped as B. To evaluate the clinical results, the Oswestry disability index (ODI), visual analogue scale (VAS) for both back pain (VAS-B) and radiating pain (VAS-R), and the walking distance of neurogenic intermittent claudication (NIC) were checked pre- and postoperatively, while simple radiographs of the lateral and flexion-extension view in the standing position were taken preoperatively and then every six months after to measure anteroposterior slippage (slip percentage), the difference in anteroposterior slippage between flexion and extension (dynamic slip percentage), angular displacement, and the difference in angular displacement between flexion and extension (dynamic angular displacement) to evaluate the radiological results. Results: The ODI (from 28.1 to 12.8 in group A, from 27.3 to 12.3 in group B), VAS-B (from 7.0 to 2.6 in group A, from 7.7 to 3.2 in group B), VAS-R (from 8.5 to 2.8 in group A, from 8.7 to 2.9 in group B), and walking distance of NIC (from 118.4 m to 1,496.2 m in group A, from 127.6 m to 1,481.6 m in group B) were improved in both groups. On the other hand, while the other radiologic results showed no differences, the dynamic angular displacement between both groups showed a significant difference postoperatively (group A from 6.2° to 6.7°, group B from 6.5° to 8.4°, p-value=0.019). Conclusion: Removal of the posterior ligaments, including the interspinous and supraspinous ligaments, during posterior decompression of lumbar spinal stenosis can cause a postoperative increase in dynamic angular displacement, which can be prevented by the port-hole technique, which spares these posterior ligaments.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.40 no.2
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• pp.69-77
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• 2022

The 3D spatial model is an analysis framework for solving urban problems and is used in various fields such as urban planning, environment, land and housing management, and disaster simulation. The utilization of drones that can capture 3D images in a short time at a low cost is increasing for the construction of 3D spatial model. In terms of building a virtual city and utilizing simulation modules, high location accuracy of aerial survey and precision of 3D spatial model function as important factors, so a method to increase the accuracy has been proposed. This study analyzed location accuracy of aerial survey and precision of 3D spatial model by each condition of aerial survey for urban areas where buildings are densely located. We selected Daerim 2-dong, Yeongdeungpo-gu, Seoul as a target area and applied shooting angle, shooting altitude, and overlap rate as conditions for the aerial survey. In this study, we calculated the location accuracy of aerial survey by analyzing the difference between an actual survey value of CPs and a predicted value of 3D spatial Model. Also, We calculated the precision of 3D spatial Model by analyzing the difference between the position of Point cloud and the 3D spatial Model (3D Mesh). As a result of this study, the location accuracy tended to be high at a relatively high rate of overlap, but the higher the rate of overlap, the lower the precision of 3D spatial model and the higher the shooting angle, the higher precision. Also, there was no significant relationship with precision. In terms of baseline-height ratio, the precision tended to be improved as the baseline-height ratio increased.

• Journal of Bio-Environment Control
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• v.31 no.4
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• pp.468-475
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• 2022

This study was conducted to find out the efficiency of heating initiative temperature and carbon dioxide fertilization in summer squash (Cucurbita moschata D.). The heating start temperature experiment was performed at 9℃, 12℃, and 15℃ using an electric heater and operated when the temperature was lower than the target temperature. The CO₂ fertilization concentration experiment was performed from 7 to 12 with the control, 500 µmol·mol^-1, and 800 µmol·mol^-1 using liquefied carbon dioxide. Investigation items were plant height, stem diameter, number of leaves, leaf area, fresh weight, dry weight, also economic analysis was conducted by surveying only fruits exceeding 100 g. Photosynthesis was measured for the upper leaf position to calculate the saturation point according to the control. The photo saturation point was 587 µmol·m^-2·s^-1, and the CO₂ saturation point was 702 µmol·mol^-1. A_max values by carbon dioxide were 13.4, 17.8, 17.2, 19.6, and 17.5 µmolCO₂·m^-2·s^-1 in the order of 9℃, 12℃, 15℃, 500 µmol·mol^-1, and 800 µmol·mol^-1. In the temperature experiment, 9℃ in growth did not grow normally and no fruiting was performed. 12℃ and 15℃ were higher than 9℃, but there was no significant difference in growth and production. The CO₂ fertilization experiment showed no significant difference between the treatment in growth, but the productivity of 800 µmol·mol^-1 was the best. Comprehensively, the heating initiative temperature of 15℃ was good for crop growth and production, but there is no significant difference from 12℃, so it is good to set the heating start temperature to 12℃ economically, and maintaining of 800 µmol·mol^-1 is effective in increasing production.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.145-181
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• 2020

This study analyzes type variations of the 'stepmother' and 'sister' in the full-length novels of Park Kyong-Ni and attempted to point out their meanings. The pattern of "negative stepmother" that appeared in classical and new novels also appeared repeatedly in Park Kyong-Ni's full-length novels and this was because a change took place in later full-length novels. Novels analyzed with focus were Jaegwiyeol(1959), Eunha(1960), Kimyakgukeue Ddaldeul(1962), and Nabiwa Unggungkwi(1969). The stepmother that appears in Eunha is a type that appears often in the classic and new novels of Korea. While the stepmother newly gained the role and status of 'mother', she forms a competitive relationship with the daughter of the former wife while still refusing to be a member of the family and she puts the former wife's daughter in critical situations by committing misdeeds. However, the young stepmother in Nabiwa Unggungkwi actually becomes a victim to the malicious and morbid harassment of the former wife's daughter. This stepmother is a good-natured figure who shows a sense of guilt for failing to fulfill her responsibilities of upbringing and education and she eventually dies as a victim to a bomb during the war, leaving her young biological daughter behind. On one hand, the sisters in Jaegwiyeol and Kimyakgukeue Ddaldeul are not strongly bonded but when one is caught in a crisis, the other one claims to be of help. Unlike this, the sisters in Nabiwa Unggungkwi have a bond that cannot be broken. They are half-sisters that bind each other so severely that they hinder each other's growth and they eventually end up disintegrating. Through such analyses, it is shown that issues of human nature are dealt with more acutely by breaking the 'young stepmother' away from convention by placing her in the position of the victim to amplify the conflicting relationship between sisters, unlike in previous pieces. This study was significant in that it looked into how previously repetitive character type changes appeared in full-length novels in conditions that clearly display the writer's determination to leave behind a masterpiece.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.135-174
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• 2020

The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.53-60
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• 2020

The study is based on the assumption that the trend of phenomena and trends in research are contextually consistent. Therefore the purpose of this study is to explore the trend of dance through the subject analysis of the Korean creative dance study by utilizing text mining. Thus, 1,291 words were analyzed in the 616 journal title, which were established on the paper search website. The collection, refining and analysis of the data were all R 3.6.0 SW. According to the study, keywords representing the times were frequently used before the 2000s, but Korean creative dance research types were also found in terms of education and physical training. Second, the frequency of keywords related to the dance troupe's performance was high after the 2000s, but it was confirmed that Choi Seung-hee was still in an important position in the study of Korean creative dance. Third, an analysis of the overall research subjects of the Korean creative dance study showed that the research on 'Art of Choi Seung-hee in the modern era' was the highest proportion. Fourth, the Hot Topics, which are rising as of 2000, appeared as 'the performance activities of the National Dance Company' and 'the choreography expression and utilization of traditional dance'. However, since the recent trend of the National Dance Company's performance is advocating 'modernization based on tradition', it has been confirmed that the trend of Korean creative dance since the 2000s has been focused on the use of traditional dance motifs. Fifth, the Cold Topic, which has been falling as of 2000, has been shown to be a study of 'dancing expressions by age'. It was judged that interest in research also decreased due to the tendency to mix various dance styles after the establishment of the genre of Korean creative dance.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.139-150
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• 2020

The data processing of this study focuses on the textom and social media words about three areas: 'Corona 19 and professional baseball', 'Corona 19 and professional baseball', and 'Corona 19 and professional sports' The data was collected and refined in a web environment and then processed in batch, and the Ucinet6 program was used to visualize it. Specifically, the web environment was collected using Naver, Daum, and Google's channels, and was summarized into 30 words through expert meetings among the extracted words and used in the final study. 30 extracted words were visualized through a matrix, and a CONCOR analysis was performed to identify clusters of similarity and commonality of words. As a result of analysis, the clusters related to Corona 19 and Pro Baseball were composed of one central cluster and five peripheral clusters, and it was found that the contents related to the opening of professional baseball according to the corona 19 wave were mainly searched. The cluster related to Corona 19 and unrelated to professional baseball consisted of one central cluster and five peripheral clusters, and it was found that the keyword of the position of professional baseball related to the professional baseball game according to Corona 19 was mainly searched. Corona 19 and the cluster related to professional sports consisted of one central cluster and five peripheral clusters, and it was found that the keywords related to the start of professional sports according to the aftermath of Corona 19 were mainly searched.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.